BibliozinePartIII

Bibliozine, Part III

Throughout 1992, international cultural network activity was sustained at unprecedented levels of activity. While many Congresses repeated the meetings of Mail Art correspondents as had occured in previous years, new ground was broken in making connections with previously unincorporated networks enabling the various contributors to gain a new understanding of possibilities open to the networker of the future.

Special mention should be made of the of the Crackerjack Kid's contact with the telematic community via computer modems and bulletin boards; the British Congress joining the flyposter and mail art networks; the Dreamtime Village (Wisconsin, USA) Sustaining the Hyperkulture Congress, which explored the role of Utopias in networking activity; a Fax Congress organized by Artpool in Hungary; publications of Joki Mail Art in Minden, Germany, which documented the aesthetics of networking; The Face of the Congress, published by FaGaGaGa, which documented the many Congress Sessions held over the year; the incredible traveling NetMail project of Peter K�stermann and Angela P�hler.

Perhaps most significant of all were the various Yugoslavian efforts to communicate their continued need for companionship with the international community despite a wartime embargo. No better example exists of the necessity of art to embrace life and enhance the spiritual and social dimensions of our beings rather then concentrate on the production of cultural souvenirs for investment purposes. The actions of alternative cultural workers are paving the way for an open multifaceted global exchange of information facilitating a brotherhood not only of artists but of all inhabitants of our planet.

For further readings on the Networker Congresses:

Aggressive School of Cultural Workers, Iowa Chapter. Networker Congress Statements. (ASCW, IA. 221 W. Benton St., Iowa City, IA) $1.50

FaGaGaGa. Face of the Congress (five issues). (PO Box 1382, Youngstown, OH 44501-1382) $2.00

Joki Mail Art. Open Net World Mag. (PO Box 2631, 495 Minden, Germany) $3

Welch, Chuck. Netshaker (2 issues). (PO Box 978, Hanover, NH 03766) $3

Xeroxial Editions. Molecular Juice Glue: Proceedings from the 1992 Decentralized Networker Congress. (Rt 1 Box 131, LaFarge, WI 54639) $6

Bibliozine #10 (April 1993)
John Held Jr., Editor
Modern Realism Archive

Bibliozine is an irregular periodical that is published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (cassette culture, zines, mail art, telecommunications, computer bulletin boards, fax, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, etc.).

Publications of Shozo Shimamoto:

From April 22 through May 6 I visited Japan at the invitation of Shozo Shimamoto and the City of Itami to participate in the performance section of the international environmental conference Global Forum. Shozo was a member of Gutai, which began in 1954 and became Japan's foremost post-war avant-garde art movement, and an influence on performance and process art theory and practice. Allan Kaprow is especially effusive about Gutai in his seminal book Assemblage, Environments & Happenings (New York, 1966)   Following are a number of publications published by or associated with Shozo Shimatoto. Shimamoto is the founder of the art group AU (Art Unidentified/Artist Union). To receive a sample copy of the association's newsletter, write: Y. Yoshitome, AU Editor, 1-1-10 Koshienguchi, Nishinomiya, Japan 663.

La Fenice Art Gallery. "Shozo Shimamoto Exhibition Catalog." Osaka, Japan. May 1993.

Includes the essay "Crucifying Time," by Hisashi Muroi, and color reproductions of large-scale paintings by Shimamoto. A chronology of the artist's activities is also provided.

Kusumoto, Misao. Japan A.U. Mail Art Book 1. Hyoda Printing Company. Nishinomiya, Japan. August 30, 1982. 200 Pages.

A visual record of the mail art sent to AU by contributors from throughout the world. "Each year we exchange about 1500 to 2000 art works by mail with other art organizations and artists. After exhibition they are kept at AU headquarters. Occasionally we publish a brochure in conjunction with the exhibition."

Kusumoto, Misao. Japan A. U. Mail Art Book II. Hyoda Printing Company. Nishinomiya, Japan. August 30, 1983. 208 Pages.

A continuation of the previous edition, which chronicles additional contributions from the international mail art community.

Kusumoto, Misao; Cohen, Ryosuke; and Shimamoto, Shozo. AU Mail Art Book III. Nishinomiya, Japan. June 1, 1984. 19 Pages.

Manifestos by Ryosuke Cohen and Shozo Shimamoto and other writings by mail art contributors such as Lon Spiegelman (USA), Gino Gini (Italy), and Chuck Stake (Canada).

Shimamoto, Shozo. AH. Japan Art Press Center. Osaka, Japan. July 1981. 35 Pages.

Includes an essay, "My Own Interpretation of Art Under the Theme of 'AH'," and both black and white and color reproductions of works illustrating this theme that the author describes as a refusal or denial of "the expression af authority as seen in works of art not only in Europe but also elsewhere in the world. What inspired me and encourage(d) me most in this effort was 'Gutai', whose spirit is embodied in the activities of 'mail art,' a form of expression campaigned for by the Artists Union today."

Shimamoto, Shozo. Gutai and AU. (Osaka, Japan). (1983). 68 Pages.

A written and illustrated record of Shimamoto's activities in Gutai and Artists Union. "We are devoted to a diametrically opposite attitude in life, carrying on dialogues with this attitude by means of mail art and by other means of communication. The present book relates to my own records of 'Gutai' and 'AU,' and to so many people I have become acquainted with during the course of my activities with the said groups, and at the same time, carries my own subjective presentation of art chronicle."

Shimamoto, Shozo. Shozo Shimamoto Networking. Art Space. Nishinomiya, Japan. December 1, 1990. 63 Pages.

A visual record of the activities of Shozo Shimamoto spanning his years in Gutai through his involvement in mail art. Also includes writings by Shimamoto from such sources as Lightworks (USA) and Lotta Poetica (Italy) magazines.

Shimamoto, Shozo. "Some Discussions on 'Networking'." Artes (Japan). Number 6, 1992.

"Abstract: The history of European art can be viewed as the history of the challenge to hierarchy. Mail Art is one of the contemporary challenges standing against hierarchy in art./ Mail Art in the 1960's was used as a simulation of conceptual art. This is still the definition of Mail Art in Japan, although Mail Art as it is internationally understood is a 'correspondence art' that uses postal means to exchange art and artistic ideas. / From the growth of mail Art activities a network was born and has developed into an independent new genre called 'Networking.'/ It is the structure and present situation of this Networking that is discussed here." Accompanied by color reproductions of Shimamoto's "head networking."

Ukita, Yozo, ed. AU. Shozo Shimamoto Publisher. Nishinomiya, Japan. December 1, 1985. 133 Pages.

Each member of Artist's Union is given one or two pages for the reproduction of their work and some biographical information. Includes an essay by Shozo Shimamoto, "Gutai. AU. Mail Art."

Yoshitome, Y. AU Newsletter. Nishinomiya, Japan. March 30, 1993. Number 119.

Latest issue of this newsletter which began in October 1977. The current issue features information on the Global Forum performance and associated events. Format is that of a 23"x16" two-sided poster.

Bibliozine #11 (July 1993)
John Held Jr., Editor
Modern Realism Archive

Bibliozine is an irregular periodical published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, and other aspects of post-war avant-garde cultures.) which will be acknowledged in the forthcoming work.

This issue of Bibliozine features two books recently sent to me by individuals of very different temperament in the network, who are nevertheless nurtured in the collectivity of the alternative arts : Bern Porter and Stewart Home.

Since the death of Cavellini, Bern Porter has assumed the undisputed label of grand old man of mail art. He is noted for his participation in the Manhattan Project where he became an unwitting accomplice in the manufacture of the Atomic Bomb. Publisher of Henry Miller. Something Else Press author. World traveler. Friend and companion to a younger generation of visual, concrete, and found poets.

Stewart Home is the force behind Smile Magazine, the Festivals of Plagiarism, Art Strike, 1990-1993, and other concepts which swirl in the mists of the alternative arts. His 1988 landmark study of the post-war avant-gardes (Lettriste Movement, Specto-Situationists, Fluxus, Provos and Motherfuckers, Neoism, ad nauseam...) remains a classic. His current fiction is being hailed as the ultimate cult novels .

Schevill, James. Where to go, what to do, when you are Bern Porter: a personal biography. Tilbury House, Gardiner, Maine. 1992. (ISBN 0-88448-125-5) 340 pages. $16.95.

With the passing of Guglielmo Achille Cavellini in November 1990, Maine poet and artist Bern Porter easily assumes the mantel of the "grand-old-man" of Mail Art. Now 82 years young, Porter has assumed a legendary position in the alternative arts. Educated as a physicist, he participated in the development of the Atomic Bomb. He was the first American publisher of Henry Miller, and friend and neighbor to many of the beat poets living in the San Francisco area in the fifties. He was taken up by segments of the Fluxus movement in the sixties, and was published by Dick Higgin's seminal Something Else Press. Athough he claims to have invented mail art in the 1920s, Bern has at the very least been a participant in multitudes of mail art shows, an active collaborator in the mail, attended his share of Mail Art Congresses, and has maintained an especially close relationships with painter and networker Carlo Pittore, and poet and publisher Mark Melnicove. His mail art archives are located at the Getty Center for the Arts and Humanities besides those of Jean Brown, making the Getty one of the foremost research centers on mail art and associated forms of the alternative arts..

This 340 page tale of Porter's life is surprisingly full. In the fifties Porter published the poems of author Schevill, and this is in turn his biographer's loving testament to a lifetime of friendship and collaboration. Who can tell which is more important to Schevill: his devotion to Porter or objectivity? And who cares. This loving portrait is a timely tribute to a historical figure in the underground arts. It's rare that an artist of Porter's temperament, which I often read as feisty and irreverent, a man of uncompromising principals, receives the world's attention until many years after his death. I'm happy for Bern that he's around to witness this loving tribute. I'm really glad that an important figure of the alternative arts has been documented in such fine detail. And I'm especially glad that a participant in the fringe arts is all to withstand the scrutiny and sustained interest comparable to any figure in mainstream culture or the popular press.

Tilburg House, Publishers. The Boston Building, 132 Water Street, Gardiner, Maine 04345, USA.

Home, Stewart. No pity. AK Press, Edinburgh, Scotland. 1993. (ISBN 1-873176-46-5)
144 pages. �5.95.

Stewart sent me his latest novel because a quote of mine taken from Lightworks magazine appears on the book jacket. "The most lasting impression I have of Stewart Home is that whenever I would look at his face it would change: from childlike to scholar; from angelic sweetness to street thug. It was eerie."   This is how I described my 1988 meeting with him in London. But Stewart himself is anything but eerie. We've met several times and he is always the perfect host and companion. There is nothing sinister about him. He's a decent bloke and a brilliant conversationalist. His previous novels, Pure Mania and Defiant Pose, set the tone for his first collection of short stories. Home's fiction is styled after the Skinhead oeuvre of Richard Allen. Violence is rife throughout the nine stories. The phrase "the satisfying crunch of splintering bone," frequently describes the havoc wrecked on industrialists, publishers, art professors, politicians, and pushers. Nothing escapes the wrath of author Home. Neither does he pass up an opportunity to revel in both hetro and gay sex. His heros (militant vegans, riot grrls, gay anarchists) are constantly shooting off "wads of liquid genetics" and "pounding out the primitive rhythm of sex" behind the beat of Situationist, Neoist, and diverse extremist political, social, and artistic philosophies.

AK Press. 22 Lutton Place, Edinburg EH8 9PE, Scotland, UK.

Bibliozine #12 (August 1993)
John Held Jr., Editor
Modern Realism Archive

Bibliozine is an irregular periodical published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, and other aspects of post-war avant-garde cultures.) which will be acknowledged in the forthcoming work.

Some Recent Zines:

Cage: Anti Embargo Magazine (number 2, April 1993). Edited by Alexandar Jovanovic, Zmaj Jovina 12/24, 25250 Odzaci, Serbia, Yugoslavia. $5.

No puff piece here. Long-time mail art participant Balint Szombathy speaks out against the silence of fellow Serb artists. "I ask myself how many of the artists from Serbia or from our smaller environment raised their voices against the reprisal of this system, against the war, against this destruction, against the nationalism, against the underestimating of human values, against the discrimination of national minorities, against all unrighteousness which befell people who think in another way... My opinion is - in a sense of my earlier attitudes about antiembargo networking congress in S. Karlovci- that we must fight, first of all, for inside changes. If we succeeed we'll have the right to come out in front of the international community and say that we don't deserve the embargo." Also reprints an interview with Angela and Peter Netmail first appearing in Umbrella magazine mentioning their participation in several 1992 Yugoslavian Networker Congresses. Other contributions by Andrej Tisma, Dobrca Kamperlic, Vittore Baroni, Shozo Shimamoto, Ruggero Maggi, and Guy Bleus, among many others.

Dreamtime Talkingmail (number 4, July 1993). Edited by Miekal and and Ben Meyers, Dreamatime Village, Rt. 2 Box 242W, Viola WI 54664. $4.

"...Information and images concerning the becoming of Dreamtime Village, a rural experiment in combining the ancient technology of permaculture with the unlimited possibilities of hypermedia arts..."    Miekal And, Liz Was and son Zon Wakest moved out of Madison, Wisconsin a few years ago and set up shop in the rural community of West Lima. I visited there in the Summer of 1992, and was impressed with the level of committment shown by the people involved in the project. Each issue of Talkingmail bears witness to growth and expansion of the Dreamtime ideal: to wrench art away from the production of items into the realm of everyday living. Workshops support the enterprise and they are as diverse as Plastered Straw-Bale Construction techniques to discussions by Peter Lamborn Wilson on the Temporary Autonomous Zone. Here's a project on the cutting edge of contemporary art. Support it.

Expresion Deforme (edicion experimental sin numero, [June 1993]). Tina Anderson, 710 E. San Ysidro Blvd. 1754, San Ysidro, CA 92173. $3.

In the sixties it was sex drugs and rock and roll, now its cypersex, smartdrugs and techno. So says this spanish language zine sent to me by Mexican mail artist Gerardo Y�piz (Zafiro 108, Valle Dorado, Ensenada bcn, Mexico) who does the graphics for this smart looking publication. It's all punked up with somewhere to go. Although the language is a problem for me, it's fairly easy to get the jist of the zines direction. Topics covered include modern primitives, Salvador Dali, skate culture, mail art, record reviews, and poetry. The article on mail art features graphics by Ruggero Maggi (Italy), Ilmar Kruusamae (Estonia), Henning Mittendorf (Germany), Society Anonyme (Belgium), and Ryosuke Cohen (Japan).

Herd (number 2, July 1993). Edited by Jennifer M. Hubert Jupiter, PO Box 395, Rifton, NY. 12471. Exchange, or membership for $5.

I remember some ten years ago when beloved mail art participant Lon Spiegelman took some flack for writing a history of mail art in Los Angeles. Seems simple enough doesn't it? And yet there were some who saw this as the division of some harmonious whole - that a community divided by geographical, generational, or gender differences, ceases to lose the bond that first drew it together. This is why the ideal of the non-juried show in mail art is so strong. Cooperation, not competition, is the mainstay of networking. And so it comes as a bitter personal disappointment to me that not only is there now a mail art zine focusing on gender concerns in mail art, but that I find myself in the middle of a controversy where I am accused of writing women out of mail art history. I catagorically deny that attacks by Anna Banana (Vancouver, Canada) and Julia Tant (London, England) on me are unwarrented, and yet I must admit I don't have the heart to defend myself in a logical way. I finally gave in and sent a slide list of my Victoria and Albert lecture on mail art publications to counter the charge by Tant that "there was not one book about mail art mentioned by a woman" (indeed, Anna Banana herself was mentioned). But this whole arguement borders on the PCing of mail art, and I find it distasteful in the extreme. Editor Heubert's intentions are honorable, it's just that her timing signals a maturing of the medium, and I can't think of anything more boring then a mature mail art.

in remembrance (number 12, [July 1993]). Edited by Jenny Soup, 11684 Ventura Blvd. #584, Studio City, Ca. 91604. $3.

Painter, poet, publisher... Jenny Soup does it all to the beat of some primitive spirit lurking within us all. "(in remembrance) comes to you from a passion that dwells between dark and light. of shadows and reverie in the mist that clouds our thoughts and wraps around our emotions." I've never read such wrenching record reviews in my whole life. "The power and the force immediately swallowed me as I first listened to this new release from..." This is a gothic journey twisting through contemporary society. Poetry and graphics remind us of the unique responses we have to a world which wraps it's arms around us all. Jenny Soup feels and she doesn't mind sharing her responses. People relate to her honesty. The fellow poets gathered in her anthology sense it and emote in the same spirit. So you think the world is blas�? Read on and feel the power of ageless truth.

Bibliozine #13 ( September1993)
John Held Jr., Editor
Modern Realism Archive

Bibliozine is an irregular periodical published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, and other aspects of post-war avant-garde cultures.) which will be acknowledged in the forthcoming work.

Ben Vautier has always been one of my favorite artists. In the Festival of Misfits, London, 1963, he sat in a gallery window for three days, not blending art and life, but demanding that art become life. The French artist is, of course, a charter member of Fluxus, and the thirtieth anniversary has been celebrated in such high bastions of art as the Walker Art Center and the Whitney Museum of American Art. But Fluxus will always be iconoclastic as Ben shows in the following remarks taken from a recent newsletter he circulated called Bull shit.

forgive me all this bull shit I thought that with such a title I could do after all some real bull shit and say nasty things about nice people

Venice consacrated Paik and Joh Cage
Also Gutai and lettrism
Some years ago, Venice's backbone was pop art and new realism
This year, its backbone is attitude art
With leading minds Marcel Duchamp, John Cage, Gutai and
lettrism

Another Fluxus subject of conversation
is Maciunas' death bed.
How Maciunas said this and not that
How this one was there that one not
soon Maciunas' death bed will have to be as big as Carnegie Hall to
contain all that said they were there.

I should stop writing about Fluxus
Fluxus artists have nothing left to say
except "I did this before you"
and I feel stupid and ashamed every time I say it

How to achieve a Fluxus show
Get together a bunch of old papers leaflets
given out or sent out in the sixties by H. Flynt,
Maciunas etc, add some reliques of concert such as photos have
everything framed,
get an art critic to write 15 pages on life art attitude, print a fat
catalogue,
(use the same old papers in Bologna in Wiesbaden in New York
but frame them differently).
The Fluxus collector
of leaflets never says - "can I buy them?" -
but only - "can you spare some?"

Ken
is a great organizer,
but he gets on my nerves
everybody gets on my nerves

Best mail art I get comes from Ricard C.
He sends post cards full of strong ideas, unperceptable details.
Sometimes he reminds me of Ray Johnson, sometimes George
Brecht. Write to him, Richard C 29 Gloria Avenue Winston Salem
NC USA.

Fluxus is making history
or is it history that makes Fluxus?
Ben Vaautier went to the toilets
three time yesterday, is that Fluxus history?
If, as John Cage said ,
something is always happening,
then history is always happening.
Beethoven or drip music,
both are history,
if everything is history we don't need history any more.

What next
What comes next after Fluxus,
where can we go if Fluxus is life
death comes next.

TAKE PART IN THE INTERNATIONAL NICE FLUXUS FESTIVAL OF NOTHING (1963-1993).
FOR THIS FESTIVAL YOU ARE ASKED TO DO NOTHING, YOU CAN STAY AT HOME AND DO NOTHING . NO PERFORMING. NO CONFERENCE. NO EXPOSITION. NO WORK. IF SUCH A PROGRAM IS TOO DIFFICULT FOR YOU TO APPLY, AND IF YOU BECOME CONCIOUS OF THE WEIGHT OF YOUR "NOTHING" YOU CAN SEND US ITS DESCRIPTION, FOR INSTANCE: "I HAVE NO MORE TIME TO DO "NOTHING" OR "THIS FESTIVAL IS WORTH "NOTHING", "I REFUSE TO DO "NOTHING", ETC. WE ARE OF COURSE CONCIOUS AND HAPPY CONCERNING THE PARTICIPATION TO THE FESTIVAL OF MOST ART GALLERIES IN THE WORLD TODAY, SINCE THEY ALL SAY THEY ARE SELLING "NOTHING". OF COURSE A CATALOGUE CONTAINING ALL YOUR "NOTHINGS" WILL BE PRINTED. TO TAKE PART IN THE INTERNATIONAL SYMPOSIUM AND CONGRESS ON NOTHING WHICH WILL OCCUR DURING THIS FESTIVAL, AND WHICH DATES AND PLACES ARE BEING KEPT SECRET SO AS TO REVEAL NOTHING, WRITE TO: "NOTHING" C/O BEEN VAUTIER: 103 ROUTE DE SAINT PANCRACE, 06 100 NICE, FRANCE.

Bibliozine #14 ( October 1993)
John Held Jr., Editor
Modern Realism Archive

Bibliozine is an irregular periodical published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures.) which will be acknowledged in the forthcoming work.

Artistamps.

In honor of the visit of Joki Mail Art of Minden, Germany, to the Modern Realism Archive (September 24-27), directly after his participation in the MARS EXPO: International Artistamp Show, organized by Greg Byrd in Seattle, Washington, September 18, 1993, we dedicate this issue of Bibliozine to recent publications in the field of artist postage stamps, or artistamps, as they were named by the late Canadian mail artist Mike Bidner. In a field which veers toward the conceptual, artistamps are a concrete link to our roots in the visual arts. As such, artistamp exhibitions are often the most successful public manifestations of networking activity.

Byrd, Greg. 1993 MARS EXPO Catalog. Slice O'Toast Productions, Seattle, Washington, 1993.

The short introduction examines the theme of borders, which once seeking to erase, the author has come to see as an essential part of human diversity. Mail art has become a means of crossing borders and the artistamp "an attempt to communicate an idea within a border." The catalog lists 135 participating artists from 23 countries including Croatia, Estonia, Japan, Mexico and Russia. The United States contingent is by far the largest with some 68 contributing artists. The catalog is distinguished not only by the inclusion of the author's artistamps, but also by his seals and cancellation stamps, further links to the iconography of the mail art network.

Felter, James Warren. International Directory of Artistamp Creators. Five/Cinq Unlimited, West Vancouver, Canada, 1993. $50.

The author is a pioneer of the field, who curated the first artistamp show in 1974, Artist Stamps' and Stamp Images, exhibited at Burnaby College, Vancouver, Canada. He continues his dedication to the field by the compilation this listing of practitioners, which number over 600 artists and producers from 32 countries. Also listed are exhibitions of artistamps, major collections, a survey of practitioners, AKA's, and indexes. The author has drawn information from the major catalogs and publications in the field, which insures wide coverage. But this reliance on secondary source material has allowed a number of errors to creep into the work. Nevertheless, this is an excellent attempt to survey the number of creators in the field and the reasons for their participation.

Joki Mail Art. Joki Artistamp Book Extra 1993. Edition Kunst-Bahnhausen Academy, Minden, Germany, 1993. $50

Creator of some 280 artistamp editions since 1982, Joki is one of the more prolific artists in the field. He is also an accomplished publisher of such zines as Smile, S'Mail, and Open Netmag. In this publication he combines artistamp and publishing interests in a suburb documentation of his artistamp activity in 1993. Available in 30 numbered copies, the work contains 155 illustrated sheets, of which 35 are in full color. It also contains a complete list of the stampsheets he has created since 1982. A brief opening introduces the artistamp field, as well as the themes that run through his work. All in all, this is the best documentation of a particular artist in the field and can well serve as a model for other such endeavors.

Joki Mail Art. S'Mail: Global-Network-Zine. Number 2. Minden, Germany. August 1993. $3.

Features the work of two veteran artistampers: American E. F. Higgins III and Italian Marcello Diotallevi. Higgins is represented by an artist statement which recounts his entry to the field in 1975. The work of Diotallevi, who worked as a restorer at the Laboratory of Restoration in the Vatican, is described by an introduction from his book, Letters to Senders. His full color offset stamps can be seen as a logical evolution in the field that Higgins pioneered with his color xeroxes in the seventies. Twenty-seven other artists have works reproduced in this informative zine surveying the contemporary artistamp scene.

                                                                                                                     Continue to Part IV